


Existence: the Operetta

by thebasement_archivist



Category: The X-Files
Genre: Filk, M/M, Poetry
Language: English
Status: Completed
Published: 2002-06-01
Updated: 2002-06-01
Packaged: 2018-11-21 00:02:17
Rating: General Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 16,828
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11345871
Author URL: https://archiveofourown.org/users/thebasement_archivist/pseuds/thebasement_archivist
Summary: The true undercurrents of the Season 8 finale are, at long last, finally revealed.





	Existence: the Operetta

**Author's Note:**

> Note from alice ttlg, the archivist: this story was originally archived at [The Basement](http://fanlore.org/wiki/The_Basement), which moved to the AO3 to ensure the stories are always available and so that authors may have complete control of their own works. To preserve the archive, I began manually importing its works to the AO3 as an Open Doors-approved project in June 2017. I e-mailed all creators about the move and posted announcements, but may not have reached everyone. If you are (or know) this creator, please contact me using the e-mail address on [The Basement's collection profile](http://archiveofourown.org/collections/thebasement/profile).

Existence: the Operetta

## Existence: the Operetta

#### by Bertina, Laura aka Mrs. Fish, amw, Julie M, Ganymede, Peach, Josan, arranged by Eavesdropper

Date: Saturday, July 14, 2001 7:02 PM

TITLE: Existence: the Operetta  
LIBRETTO: Dr. Weesh at "Inside the X"  
MUSICAL CONTRIBUTIONS: Bertina, Laura aka Mrs. Fish, amw, Julie M., Ganymede, Peach, Josan under the watchful eye of our artistic arranger, Eavesdropper.  
SUMMARY: The true undercurrents of the Season 8 finale are, at long last, finally revealed.  
RATING: PG  
ARCHIVE: Please contact Jose at for the operetta in one piece. We would just like to know where this masterpiece is being "played".  
COMMENTS: Members of Skinner/Krycek, please send any comment to the list. Others may send them to the above addy and I shall be more than pleased to forward them.   
DISCLAIMER: The characters, "plotline", etc, are the possession of 1013 Productions, Chris Carter and the Fox Network. All muscial compositions are the property of their composers and we thank them for the loan. No money will ever be made from anything that follows. It is only our way of dealing with a situation that we found intolerable.   
Believe it or not: continuity *is* important!  
The Overture begins and the curtain slowly rises.

* * *

SCENE 1 

***The theme from JAWS is heard in the background all through this  
scene.

  
DISTRICT PATHOLOGY LAB   
WASHINGTON, DC   
4:05 AM 

(DR. LANGENHAHN enters the morgue and turns on the lights. A faucet  
nearby has a slow drip. He goes to the sink and washes his hands. The  
doors open and the PATHOLOGIST'S ASSISTANT wheels in a cart with a large  
flat metal box on it.)   
PATHOLOGIST'S ASSISTANT: Dr. Langenhahn, here's the body.   
DR. LANGENHAHN: They weren't kidding were they?   
PATHOLOGIST'S ASSISTANT: They said they did about the best they could  
considering it was all mashed in with that garbage.   
(He lifts the heavy box on to the examination table.)   
DR. LANGENHAHN: How mashed up is it? 

***I was working in the lab late one night   
When my eyes beheld an eerie sight   
My monster from his slab began to rise   
And suddenly to my surprise 

(he did the mash) He did the monster mash   
(he did the mash) It was a graveyard smash   
(he did the mash) It caught on in a flash   
(he did the mash) He did the monster mash 

From my laboratory in the castle east   
To the master bedroom where the vampires feast   
The ghouls all came from their humble abode   
To get a jolt from my electrode 

(they did the mash) They did the monster mash   
(they did the mash) It was a graveyard smash   
(they did the mash) It caught on in a flash   
(they did the mash) They did the monster mash 

The zombies were having fun, the party had just begun   
The guests included Wolfman, Dracula and his son 

The scene was rocking, all were digging the sound   
Igor on chains backed by his baying hounds   
The Coffin Bangers were about to arrive   
With their vocal group The Cryptkicker Five 

(they played the mash) They played the monster mash   
(they played the mash) It was a graveyard smash   
(they played the mash) It caught on in a flash   
(they played the mash) They played the monster mash 

Out from his coffin Drac's voice did ring   
Seems he was troubled by just one thing   
He opened the lid and shook his fist and said   
"Whatever happened to my Transylvania Twist?" 

(it's now the mash) It's now the monster mash   
(it's now the mash) And it's a graveyard smash   
(it's now the mash) It caught on in a flash   
(it's now the mash) It's now the monster mash 

Now everything's cool Drac's a part of the band   
And my monster mash is the hit of the land   
For you, the living, this mash was meant too   
When you get to my door tell them Boris sent you 

(then you can mash) Then you can monster mash   
(then you can mash) And do my graveyard smash   
(then you can mash) You'll catch on in a flash   
(then you can mash) Then you can monster mash

(The Monster Mash)

PATHOLOGIST'S ASSISTANT: Basically, it's hamburger.   
(DR. LANGENHAHN has put on latex gloves. He opens the box and is  
revolted by what he sees inside.)   
DR. LANGENHAHN: Ohh... Ugggh. And they want me to do what exactly?   
PATHOLOGIST'S ASSISTANT: Your order was to establish and confirm real  
fact of death.   
(DR. LANGENHAHN glances at the contents of the box and gives an  
exaggerated yawn.) 

***(Weird science)  
Plastic tubes and pots and pans  
Bits and pieces and  
Magic from the hand  
We're makin'

(Weird science)  
Things I've never seen before  
Behind bolted doors  
Talent and imagination

(Weird science)  
Not what teacher said to do  
Makin' dreams come true  
Living tissue, warm flesh

(Weird science)  
Plastic tubes and pots and pans  
Bits and pieces (and)  
Bits and pieces (and)

CHORUS  
(Bits of) my creation--Is it real?  
It's my creation--I do not know  
No hesitation--No heart of gold  
Just flesh and blood--I do not know

From my heart and from my hand  
Why don't people understand  
My intentions . . . . Oooh, weird . . . .  
Weird science!!

(Weird science)  
Magic and technology  
Voodoo dolls and chants  
Electricity  
We're makin'

(Weird science)  
Fantasy and microchips  
Shooting from the hip  
Something different  
We're makin'

(Weird science)  
Pictures from a magazine  
Diagrams and charts  
Mending broken hearts (and makin')

(Weird science)  
Something like a recipe  
Bits and pieces . . . .  
Bits and pieces . . . .

(Weird Science by Oingo Boingo from the film Weird Science)

DR. LANGENHAHN: I'd say he's dead. How about you?   
PATHOLOGIST'S ASSISTANT: Yes, sir.   
DR. LANGENHAHN: Good. I'm going home. You fax me the paperwork by 9:00.  
I'll sign it, everybody's happy.   
(DR. LANGENHAHN notices something in the bloody mess of tissue.)   
DR. LANGENHAHN: Ah, crying out loud. See this? They left some...  
garbage... in with it.   
(He gets a long pair of forceps and lifts up a metallic object and  
examines it.)   
PATHOLOGIST'S ASSISTANT: Looks kind of like a vertebra. Only metallic.   
DR. LANGENHAHN: Note it on the report... and fax me.   
 (DR. LANGENHAHN sets the metallic vertebra down on the table and  
leaves. The PATHOLOGIST'S ASSISTANT closes the box, picks up his laptop  
and turns out the light as he exits the room. All is still and quiet for  
a moment, then the vertabra suddenly spins. When it stops, there is  
another vertabra attached to it. It spins again. Four vertabra. Then  
six. Then eight. It is replicating itself.) 

  
SCENE 2 

Background music to this entire scene playing on the radio

Georgia, Georgia,  
The whole day through  
Just an old sweet song  
Keeps Georgia on my mind

I'm say Georgia  
Georgia  
A song of you  
Comes as sweet and clear  
As moonlight through the pines

Other arms reach out to me  
Other eyes smile tenderly  
Still in peaceful dreams I see  
The road leads back to you

I said Georgia,  
Ooh Georgia, no peace I find  
Just an old sweet song  
Keeps Georgia on my mind

Other arms reach out to me  
Other eyes smile tenderly  
Still in peaceful dreams I see  
The road leads back to you

Georgia,  
Georgia,   
No peace, no peace I find  
Just this old, sweet song  
Keeps Georgia on my mind

I said just an old sweet song,   
Keeps Georgia on my mind

(GEORGIA ON MY MIND Ray Charles)

(REYES' beige sedan driving along a rural road. DC License plate  
42-BIEN. SCULLY wakes up in the passenger seat. For a moment she is  
disoriented.)   
SCULLY: Oh, god. I was hoping this was all a dream. When did the sun  
come up?   
REYES: About six hours ago. Somewhere back in North Carolina.   
SCULLY: Where are we?   
REYES: We just crossed into Georgia. Long way from home, Agent Scully.   
SCULLY: Well under the circumstances...   
(REYES glances at SCULLY's belly.)   
REYES: Right. We can't be too safe.   
(REYES looks very jittery.)   
SCULLY: Are you all right, Agent Reyes?   
REYES: I should ask how you're doing. I mean... You're the one who's  
going to have this baby.   
SCULLY: That's it, isn't it? What you're really worried about?   
REYES: Aside from whatever danger we're in... Where we're going doesn't  
sound like... there's all that much in the way of a � facility. You know  
what I mean? I've never delivered a baby.   
SCULLY: Well, I've never had one. That makes us both beginners.   
(REYES gives her a nervous smile.) 

SCENE 3 

(SKINNER's office. MULDER is showing a grainy black and white picture of  
BILLY MILES wearing what look like medical scrubs. Nice continuity,  
Mulder still has the tape stitches that SCULLY put on him in the last  
episode.)   
MULDER: This is a video grab from the DC morgue. It's Billy Miles.   
SKINNER: How can that be?   
DOGGETT: It can't be. It's impossible. 

***3 is a magic number, yes it is, it's a magic number  
Somewhere in that ancient mystic trinity  
You get 3 as a magic number  
The past, and the present, and the future  
Faith, and hope, and charity  
The heart, and the brain, and the body  
Will give you 3, that's a magic number

It takes three legs to make a tripod or   
To make a table stand  
It takes three wheels to make a vehicle  
Called a tricycle  
And every triangle has three corners  
Every triangle has three sides  
No more, no less, you don't have to guess  
Now this three, can you see? It's a magic number

(3 is a magic number: Blind Melon)

MULDER: Yeah. It can't be, but it is. Walking out of the morgue looking  
like a new man.   
DOGGETT: His body was taken to the morgue in a little box, for god's  
sake.   
(KRYCEK is sitting on the leather couch against the wall.)   
KRYCEK: Like I told you. You can't stop him.

If only you believe like I believe, baby  
We'd get by  
If only you believe in miracles, baby  
So would I  
If only you believe like I believe, baby  
We'd get by  
If only you believe in miracles, baby  
So would I. 

I might have to move heaven and earth to prove it to  
you, baby  
So we're makin' love and you feel the power  
And I feel the power  
Then there's really nothing that we can't do  
If we wanted to, baby  
We could exist on the stars  
It'd be so easy  
All we gotta do  
Is get a little faith in you  
Oh, I've been (to) so many places  
I've seen some things  
I know, love is the answer  
Keeps holding this world together  
Ain't nothing better  
Ain't nothing better  
And all the answers to our prayers  
Hell , it's the same everywheres, baby  
Nothing ever breaks up the heart  
Only tears give you away  
Then you're right where I found ya  
With my arms around ya  
Oh baby, baby, baby, love is a magic word, yeah  
Few ever find in a lifetime  
But from that very first look in your eyes  
I knew you and I had but one heart  
Only our bodies were apart  
That was so easy, so easy  
I had a taste of the real world  
When I went down on you, girl. 

If only you believe like I believe, baby  
We'd get by  
If only you believe in miracles, baby  
So would I  
If only you believe like I believe, baby  
We'd get by  
If only you believe in miracles, baby  
So would I. 

I can hear windmills and rainbows  
Whenever you're talkin' to me  
I feel like swirling and dancin'  
Whenever you're walking with me  
You ripple like a river when I touch you  
When I pluck your body like a string  
When I start dancin' inside ya  
Oh baby, you make me wanna sing  
Yeah, baby, baby, baby, baby  
Oh yeah, all right  
Baby, we're sure doin' it tonight  
Everytime you come by, let me try  
Pretty, please sugar on it  
That's how I like it  
I can't even believe it, with you  
It's like having every dream I ever wanted  
Come true  
I picked up your vibes  
You know it opened my eyes  
But I'm still dreamin' yeah  
And you're right where I found ya  
With my arms around ya. 

( Miracles: Jefferson Starship/Airplane)

  
   
(SKINNER gets up from his desk and crosses threateningly toward KRYCEK.)   
SKINNER: Yeah, you know, you keep saying that, Krycek. So why don't you  
explain it to us because I'm having a little bit of a hard time  
understanding it myself. Billy Miles was scraped out of the back of a  
garbage truck. I saw him go in, I saw him come out.   
(SKINNER tosses the picture into KRYCEK's lap. KRYCEK glances at it  
casually.)   
KRYCEK: Well, I don't know if I can explain it in any technical sense,  
but... that's Billy Miles, without a doubt.   
(KRYCEK hands the picture back to SKINNER.)   
SKINNER: (angry) You're sitting there for one reason, Krycek. Because  
you can explain it.   
KRYCEK: I told you-- he's a human replacement. Some new kind of alien �   
(DOGGETT looks up.)   
KRYCEK: �. created to aid in the repopulation of the planet.   
MULDER: Which Scully is a threat to.   
KRYCEK: If she has that baby.   
DOGGETT: Well, I don't care who he is or what you think he's made of  
there's no way he's going to find her. No way.   
KRYCEK: Well, maybe he's not but there are others out there just like  
him. And it's only a matter of time before they will.   
(There is a knock at the door, and AGENT CRANE enters.)   
AGENT CRANE: Agent Doggett? See you a moment?   
(DOGGETT glances at the other men in the room then joins AGENT CRANE in  
the hallway. He sighs when he recognizes the man waiting in the office  
across the hall.)   
AGENT CRANE: There's someone here to see you. His name is Knowle Rohrer.  
He says you know each other and what he's here for can't wait. 

SCENE 4 

(Night. REYES and SCULLY arrive at a deserted and dilapidated resort  
area. Rather depressing. REYES turns off the headlights of the car, but  
the area is still well lit from the night sky above. Both women get out  
of the car. SCULLY, her hands on her lower back, looks around as REYES  
gets some supplies out of the back seat.)   
REYES: End of the road.

***(Talking)  
Girl you know we belong together  
I don't have time for you to be playing with my heart like this  
You'll be mine forever baby  
You just wait

(singing)  
We belong together  
And you know that I am right  
Why do you play with my heart  
Why do you play with my mind

Said we'd be forever  
Said it'd never die  
How could you love me and leave me and never  
Say goodbye

When I can't sleep at night  
Without holding you tight  
Girl, each time I try I just break down and cry  
Pain in my head  
Oh, I'd rather be dead  
Spinning around and around

(chorus 2x)  
Although we've come  
To the end of the road  
Still I can't let go  
It's unnatural  
You belong to me  
I belong to you

Girl, I know you really love me  
You just don't realize  
You've never been there before  
It's only  
Your first time

Maybe I'll forgive you  
Maybe you'll try  
We should be happy together forever  
You and I

Will you love me again  
Like you loved me before  
This time I want you to love me much more  
This time instead  
Just come to my bed  
And baby just don't let me go

chorus

(talking, except things in parentheses)

Girl, I'm here for you  
All those time as night  
When you just hurt me  
And just ran out with that other fella  
Baby I knew about it  
I just didn't care  
You just don't understand how much I love  
Do you?  
I'm here for you

I'm not about to go out on cheat you  
(Maybe I'll forgive you)  
Just like you did  
But baby that's alright  
I love you anyway  
(Maybe you will try)  
And I'm still going to be here with you until my dying day  
(We should be happy together forever)  
Right now  
I'm just in so much pain  
Cuz you just won't come back to me  
(You and I)  
Will you?  
Just come back

(Lonely)  
Yes baby, my heart is lonely  
(Lonely)  
My heart hurts  
(Lonely)  
Yes, I feel pain too  
Baby please

(back to singing)

This time instead just come to my bed  
And baby just don't let me go

(End Of The Road: Boyz II Men)

SCULLY: Yeah. Literally. Anybody finds us out here, it really will be a  
miracle. Where exactly are we?   
REYES: Democrat Hot Springs. According to Agent Doggett this is where  
people used to come for the waters-- until the springs dried up and they  
quit coming. He was born here.   
SCULLY: Really? Well that's... comforting. I guess. (She doesn't sound  
comforted.) So, where do you want to set up?   
(REYES confidently leads them to one of the buildings.)   
REYES: Over here.   
SCULLY: Any particular reason?   
REYES: I think I told you, I feel these energies about people and stuff  
and places. I found it works best to go with my instincts.   
(They enter one of the abandoned buildings. On the window of the  
building are painted the words, "Water from the rock, Exodus 7:16."  
REYES' flashlight shows a thick layer of dust covering everything,  
including the old iron daybed in the middle of the room.) 

***I'll light the fire  
You place the flowers in the vase that you bought today.  
Staring at the fire for hours and hours  
While I listen to you play your love songs all night long for me,  
Only for me.

Come to me now  
And rest your head for just five minutes  
Everything is done  
Such a cozy room  
The windows are illuminated by the evening sunshine through them  
Fiery gems for you.  
Only for you.

Our house is a very very very fine house  
With two cats in the yard  
Life used to be so hard  
Now everything is easy, 'cause of you  
I'll light the fire  
While you place the flowers in the vase that you bought today.

(OUR HOUSE: Crosby, Stills, Nash & Young)

SCULLY: I'm getting a feeling myself. 

(Dana sings softly to herself)

*** Ohhhhh  
Super freak, super freak  
That girl's a super freak  
Ohhhhh

(Super Freak: Rick James)

(Her tone indicates that the feeling is that "This place sucks." SCULLY  
crosses to a cobweb-covered sink. She turns the handle. Nothing  
happens.)   
SCULLY: Well, there's no water from this rock. We're going to need some  
water and a place to boil it. Along with sterile supplies and a clean  
place to do this delivery.   
(Again, REYES looks very nervous. She smiles weakly at SCULLY.)   
REYES: I'm a little stiff from the drive.   
(REYES hands SCULLY the flashlight. SCULLY sighs and begins looking  
around the filthy room.)   
SCULLY: Okay.   
(REYES goes outside again to smoke. She looks up and sees a stationary  
bright light in the sky. It could be a very bright star. 

***Star of wonder, star of night  
Star with royal beauty bright  
Westward leading, still proceeding  
Guide us with your wondrous light.

(We three kings, chorus: Christmas carol)

She looks at it a moment, takes another drag, then stubs out the  
cigarette with her foot and heads slowly back into the building.) 

SCENE 5 

(X-Files office. DOGGETT is talking to KNOWLE ROHRER.)   
DOGGETT: It's not like you, Knowle coming to see me when you make me  
work so hard to see you.   
KNOWLE ROHRER: This couldn't wait, John. It's about this thing you're  
pursuing.   
DOGGETT: This thing?   
KNOWLE ROHRER: This man you're after. I think you know what I'm talking  
about.   
DOGGETT: I think I'm confused, Knowle-- if it's a man or if it's a  
thing.   
KNOWLE ROHRER: It's military, John. It goes all the way to the top. I  
can't overstate the sensitivity.

***Super Trouper lights are gonna find me  
Shining like the sun  
(Sup-p-per Troup-p-per)  
Smiling, having fun  
(Sup-p-per Troup-p-per)  
Feeling like a number one  
Tonight the  
Super Trouper beams are gonna blind me  
But I won't feel blue  
(Sup-p-per Troup-p-per)  
Like I always do  
(Sup-p-per Troup-p-per)  
'Cause somewhere in the crowd there's you  
So I'll be there when you arrive  
The sight of you will prove to me I'm still alive  
And when you take me in your arms  
And hold me tight  
I know it's gonna mean so much tonight

(ABBA)

 Let me say there was a rumored program out of the cold war. A plan to  
create a super-soldier.   
DOGGETT: Well, this kid I'm talking about was pretty damn super. Got  
right up out of a gutbucket and hit the ground running. Kid wasn't  
exactly what I'd call military material. In fact, they say he was an  
alien abductee.   
KNOWLE ROHRER: You got it half right, John.   
DOGGETT: Which half?   
KNOWLE ROHRER: What you're chasing is a prototype.   
DOGGETT: Uh-huh. And this so-called prototype... what is he after?   
KNOWLE ROHRER: Oh, I think you know that, too, John. He's after your  
partner, Scully. You may not be aware that she was part of a program  
herself. Six years ago, Agent Scully was taken in a military operation  
staged as an abduction. They put a chip in the back of her neck to  
monitor her. It was also used to make her pregnant with the first  
organic version of that same super-soldier.   
(DOGGETT gives a short nervous laugh.)   
DOGGETT: What do you want from me?   
KNOWLE ROHRER: Help us catch him so we can put him down before he finds  
her.   
DOGGETT: You assume I know where she is.   
KNOWLE ROHRER: Who does? Your superior?   
(DOGGETT doesn't answer.)   
KNOWLE ROHRER: Whoever knows, his life's in danger, too. I want you to  
know. 

***See the moon slink down in the sky, darling.  
Let your fantasies fly, darling.  
Life is cold and the game is old.  
Just see how virtue repays you.  
You turn and someone betrays you.  
Betray him first and the game's reversed!

For we are all caught in the middle  
of one lone treacherous riddle!  
Can I trust you? Should you trust me, too?  
We shamble on through this hell,  
taking on more secrets to sell  
till there comes a day when we sell our souls away!

Through the mist, your lover is beckoning...  
Comes that moment of reckoning,  
faces change! Even smiles grow strange.  
And we all have so many faces,  
the real self often erases.  
Enticing lies flicker through our eyes!

Feel the terror draw even nearer,  
the more you stare in the mirror,  
but hold your own!  
Face the wind alone.  
Reel on, love! Toughen your scars!  
Year by year, we're falling like stars  
til there comes a day  
when we sell our souls away.

Can I run to you?  
Are you true to me?  
I'll do unto you  
as you do unto me!  
And we slowly learn  
someone has to burn!  
Better you than me!

Oh, ev'ry Judas once loved a Jesus!  
But finally, treason will seize us!  
And only fools  
follow golden rules!  
We are all caught in the middle  
of one long, treacherous riddle  
of who trusts who...  
Maybe I'll trust you!  
But can you trust me?

Wait and see!

(The Riddle from the original Broadway cast recording of The Scarlet  
Pimpernel)

SCENE 6 

(5th Floor of the FBI building. MULDER has left SKINNER's office and is  
waiting at the elevator. He looks up at the panel. The car appears to be  
held up on the 4th floor. MULDER sighs and takes the stairs. Just as the  
door closes behind him, the elevator doors open and BILLY MILES comes  
out and walks purposefully down the hall.)   
(Inside SKINNER's office, KRYCEK looks up, then stands. SKINNER is  
behind his desk looking through a file.)   
SKINNER: Sit down, Krycek.   
(KRYCEK drops something, a soda can?, in the trash can and looks out the  
open single door. He then turns and leaves the office by the double  
doors.)   
SKINNER: Hey! What'd I tell you?! Hey!   
(The single door opens and BILLY MILES enters and stares at SKINNER.  
SKINNER sensibly runs out the double doors after KRYCEK. KRYCEK has  
entered the elevator. SKINNER is running down the hall followed by BILLY  
MILES.) 

It's close to midnight and something evil's lurking  
in the dark  
Under the moonlight you see a sight that almost stops  
your heart  
You try to scream but terror takes the sound before  
you make it  
You start to freeze as horror looks you right between  
the eyes,  
You're paralyzed

'Cause this is thriller, thriller night  
And no one's gonna save you from the beast about to  
strike  
You know it's thriller, thriller night  
You're fighting for your life inside a killer,  
thriller tonight

You hear the door slam and realize there's nowhere  
left to run  
You feel the cold hand and wonder if you'll ever see  
the sun  
You close your eyes and hope that this is just  
imagination  
But all the while you hear the creature creepin' up  
behind  
You're out of time

'Cause this is thriller, thriller night  
There ain't no second chance against the thing with  
forty eyes  
You know it's thriller, thriller night  
You're fighting for your life inside a killer,  
thriller tonight

Night creatures call  
And the dead start to walk in their masquerade  
There's no escapin' the jaws of the alien this time  
(they're open wide)  
This is the end of your life

They're out to get you, there's demons closing in on  
every side  
They will possess you unless you change the number on  
your dial  
Now is the time for you and I to cuddle close  
together  
All thru the night I'll save you from the terrors on  
the screen,  
I'll make you see

That it's a thriller, thriller night  
'Cause I can thrill you more than any ghost would  
dare to try  
Girl, this is thriller, thriller night  
So let me hold you tight and share a killer, diller,  
chiller,  
Thriller here tonight

(Rap performed by Vincent Price)  
Darkness falls across the land  
The midnite hour is close at hand  
Creatures crawl in search of blood  
To terrorize y'awl's neighborhood  
And whosoever shall be found  
Without the soul for getting down  
Must stand and face the hounds of hell  
And rot inside a corpse's shell  
The foulest stench is in the air  
The funk of forty thousand years  
And grizzly ghouls from every tomb  
Are closing in to seal your doom  
And though you fight to stay alive  
Your body starts to shiver  
For no mere mortal can resist  
The evil of the thriller  
(Into maniacal laugh, in deep echo)

(Thriller, Michael Jackson)

SKINNER: Krycek! Krycek! Hold the door!   
(KRYCEK presses a button and calmly allows the doors to close.)   
SKINNER: Hold the door, Krycek! Krycek!   
(At the last possible second, SKINNER gets his hand in the door and  
manages to wedge himself inside. The doors close. SKINNER glares at  
KRYCEK. The elevator begins to move down, but screeches to a halt as  
BILLY MILES' hand crashes through the door, striking SKINNER on the  
head. KRYCEK looks on nervously as the hand is dragged back out of the  
elevator by its downward motion. SKINNER is lying on the floor of the  
elevator, a bloody gash on his forehead.) 

*** Bang! Bang! Maxwell's  
  silver hammer   
  came down upon her  
  head   
  Clang! Clang! Maxwell's  
  silver hammer   
  made sure that he was  
  dead   
  Silver hammer man

(Maxwell's Silver Hammer: The Beatles)

SCENE 7 

(SKINNER's hospital room. MULDER is looking with concern at SKINNER who  
is sleeping in a pink? hospital gown.. There is a bandage on the gash in  
his head. Clock reads about 10:40.

***I'm in the mood for love  
Simply because you're near me  
Funny, but when you're near me  
(I'm in the mood for love)

Heaven is in your eyes  
Bright as the stars we're under  
Oh, is it any wonder?  
(I'm in the mood for love)

(Why stop to think of whether)  
(This little dream might fade?)  
(Let's put our hearts together)  
Now we are one, I'm not afraid

If there's a cloud above  
If it should rain, we'll let it  
But, for tonight, forget it  
(I'm in the mood for love)

(Why stop to think of whether)  
(This little dream might fade?)  
(Let's put our hearts together)  
Now we are one, I'm not afraid

If there's a cloud above  
If it should rain, we'll let it  
But, for tonight, forget it  
I'm in the mood   
Hope you're in the mood   
For love

(I'm in the Mood for Love: The Four Aces)

 DOGGETT looks in the room.) 

***Strange dear, but true dear,  
When I'm close to you, dear,  
The stars fill the sky,  
So in love with you am I.  
Even without you,  
My arms fold about you,  
You know, darling, why,  
So in love with you am I.  
In love with the night mysterious,  
The night when you first were there,  
In love with my joy delirious  
When I knew that you could care.  
So taunt me and hurt me,  
Deceive me, desert me.  
I'm yours 'til I die,  
So in love, so in love,  
So in love with you, my love am I.

(So in love: Cole Porter)

DOGGETT: Mulder.   
(MULDER pats SKINNER gently on the shoulder 

Somewhere in a lonely hotel room  
there's a guy starting to realize  
That eternal fate has turned its back on him  
And it's two a.m.

It's two a.m. the fear has gone  
I'm sitting here waitin' the gun still warm  
Maybe my connection is tired of taken chances  
Yeah there's a storm on the loose sirens in my head  
I'm wrapped up in silence all circuits are dead  
I cannot decode my whole life spins into a frenzy

Help I'm steppin' into the twilight zone  
The place is a madhouse  
Feels like being cloned  
My beacon's been moved under moon and star  
Where am I to go  
Now that I've gone too far

Help I'm steppin' into the twilight zone  
The place is a madhouse  
Feels like being cloned  
My beacon's been moved under moon and star  
Where am I to go  
Now that I've gone too far

You will come to know  
When the bullet hits the bone  
Soon you will come to know  
When the bullet hits the bone

I'm falling down a spiral destination unknown  
A double crossed Messenger all alone  
I can't get no connection I can't get through  
Where are you

Well the night weighs heavy on his guilty mind  
This far from the borderline  
And when the hitman comes  
He knows damn well he has been cheated

Help I'm steppin' into the twilight zone  
The place is a madhouse  
Feels like being cloned  
My beacon's been moved under moon and star  
Where am I to go  
Now that I've gone too far

Help I'm steppin' into the twilight zone  
The place is a madhouse  
Feels like being cloned  
My beacon's been moved under moon and star  
Where am I to go  
Now that I've gone too far

Soon you will come to know  
When the bullet hits the bone  
Soon you will come to know  
When the bullet hits the bone

(TWILIGHT ZONE by Golden Earring)

and joins DOGGETT in the hallway.)   
MULDER: You heard about this, right?   
DOGGETT: How is he?   
MULDER: He's got a concussion. They're going to keep him here for  
observation. Where were you when this all happened?   
DOGGETT: In my office, talking to somebody who warned me this might  
happen.   
MULDER: Who?   
(DOGGETT sighs.)   
MULDER: Skinner could've been killed. He's lucky he wasn't.   
DOGGETT: He's an old friend. He tells me stuff I'm not supposed to know.  
I didn't want to believe it.   
MULDER: What exactly did he tell you?   
DOGGETT: He said that Billy Miles isn't what you think he is. He's a  
product of a government program looking to build a super soldier. He  
said Agent Scully's a part of that program, too; that her pregnancy was  
triggered by a chip they put in her neck.   
(This really pisses MULDER off.)   
MULDER: I want to know who the hell you've been talking to-   
(A nearby NURSE looks up at the sound of MULDER's raised voice.  
Irritated, MULDER leads DOGGETT farther down the hall and lowers his  
voice.)   
MULDER: .--- who this trusted source of yours is who's been spinning  
this fantasy.   
DOGGETT: His name's Knowle Rohrer. He's deep inside US Intelligence. I  
don't know much more than that.   
MULDER: Did he ever lie to you? Give you bad information, false leads?   
(DOGGETT pauses and avoids MULDER's eyes.)   
MULDER: (incredulously) Well, you have to think about it?   
DOGGETT: He says Scully's in danger. He wants to stop this guy. How's  
that so different than what we're saying?   
MULDER: You didn't tell him where she is, did you?   
DOGGETT: No, but I'm beginning to think that the fact that I know is  
going to catch up with me if AD Skinner's any indication.   
MULDER: (emphatically) You don't tell anybody where she is. That's the  
deal, right? Not even me.   
DOGGETT: What if something happens to me?   
(MULDER's turn to sigh.)   
MULDER: This, uh, trusted source of yours told you he knows how to stop  
Billy Miles. Did he happen to tell you how he plans to do this?   
DOGGETT: No.   
MULDER: Right. Well, what do you say you and me go find out how  
trustworthy he really is? 

  
SCENE 8 

(Democrat Hot Springs. Day, SCULLY is standing outside near the car,  
beige trench coat, hands on her lower back. REYES calls to her from the  
doorway of the building.)   
REYES: Dana... Come see what you think.   
(SCULLY waddles into the building. She gasps in surprise.)   
SCULLY: Oh, my goodness. Look at this. Look at you. Wow.   
(The transformation is indeed incredible. The hardwood floor gleams it  
is so clean. Everything has been thoroughly cleaned. Sunlight streams  
through the windows. SCULLY lowers herself onto the iron daybed which  
now is covered in a set of sheets. Another clean set of sheets sits on  
the edge. Unlit candles are strategically placed around the room.)   
REYES: (proudly) I found them folded up in a cabinet upstairs. And a  
nice porcelain basin and a whole box of candles.   
SCULLY: Do we have matches?   
REYES: (embarrassed smile) I've got a lighter.   
SCULLY: Yeah.   
REYES: Now all we need is some mood music. Like whale song.   
SCULLY: Whale song?   
REYES: Yeah, they've got these recordings of whales talking to each  
other, calling back and forth.   
(SCULLY stares at her as REYES closes her eyes and makes some very  
bizarre whale moans.) 

***Farewell to Tarwathie  
Adieu Mormond Hill  
And the dear land of Crimmond  
I bid you farewell  
I'm bound off for Greenland  
And ready to sail  
In hopes to find riches  
In hunting the whale

Farewell to my comrades  
For a while we must part  
And likewise the dear lass  
Who first won my heart  
The cold coast of Greenland  
My love will not chill  
And the longer my absence  
More loving she'll feel

Our ship is well rigged  
And she's ready to sail  
The crew they are anxious  
To follow the whale  
Where the icebergs do float  
And the stormy winds blow  
Where the land and the ocean  
Is covered with snow

The cold coast of Greenland  
Is barren and bare  
No see time nor harvest  
Is ever known there  
And the birds here sing sweetly  
In mountain and dale  
But there's no bird in Greenland  
To sing to the whale

There is no habitation  
For a man to live there  
And the king of that country  
Is the fierce Greenland bear  
And there'll be no temptation  
To tarry long there  
With our ship under full  
We will homeward repair

Farewell to Tarwathie  
Adieu Mormond Hill  
And the dear land of Crimmond  
I bid you farewell  
I'm bound off for Greenland  
And ready to sail  
In hopes to find riches  
In hunting the whale

(Whales & Nightingales CD by Judy Collins. There are Humpback Whale  
sounds in the background as Judy sings.)

REYES: I... I don't know. It's like... it's almost metaphysical.   
(REYES notices SCULLY's skeptical gaze and smiles.)   
REYES: You're looking at me like... I don't know, I probably sound like  
a goof.   
SCULLY: No, no, it's not that. Um, I was thinking that you reminded me  
of someone that I was close to-- my sister.   
REYES: You're not close to her still?   
SCULLY: Uh, she was killed... about five years ago... in my home. (She  
sighs, and catches her breath.) It was a terrible time.   
(REYES gently rests her hand on SCULLY's shoulder.) 

*** Now there was a time when they used to say  
That behind every - "great man."  
There had to be a - "great woman."  
But in these times of change you know  
That it's no longer true.  
So we're comin' out of the kitchen  
'Cause there's somethin' we forgot to say to you (we say)

Sisters are doin' it for themselves.  
Standin' on their own two feet.  
And ringin' on their own bells.  
Sisters are doin' it for themselves.

Now this is a song to celebrate  
The conscious liberation of the female state!  
Mothers - daughters and their daughters too.  
Woman to woman  
We're singin' with you.  
The "inferior sex" got a new exterior  
We got doctors, lawyers, politicians too.  
Everybody - take a look around.  
Can you see - can you see - can you see  
There's a woman right next to you.

Chorus repeats.

Now we ain't makin' stories  
And we ain't layin' plans  
'Cause a man still loves a woman  
And a woman still loves a man  
(Just a same though)

(Sisters Are Doin' It For Themselves: Eurythmics (Duet with Aretha  
Franklin))

SCULLY: Oh, it's, uh... It's okay. Oh, thank you. Thank you for, um...  
putting this together and... it's not what I planned but, um... it's  
very nice.   
(REYES smiles.

***There's a full moon out tonight  
Andlove is movin' in the shadows  
I got no place to run  
And it's following me wverywhere that I go  
There's something in the air  
I can feel it everywhere  
All the conditions are right  
Someone could lose a heart tonight  
Someone could lose a heart

With all this kissin' and huggin  
And heavy breathin'  
Fallin' under the spell of the  
Love you're weavin'  
It's gonna get crazy baby if you don't stop  
Someone could lose a heart tonight  
Someone could lose a heart

Lookin' in your eyes tonight  
Don't you know you got me hypnotized  
Didn't mean to fall in love  
But who could leave this paradise  
I can feel it when we touch  
Oh, it's too much  
All the conditions are right  
Someone could lose a heart tonight  
Someone could lose a heart

With all this kissin' and huggin'  
And heavy breathin'  
Fallin' under the spell of the  
Love you're weavin'  
It's gonna get crazy baby if you don't stop  
Someone could lose a heart tonight  
Someone could lose a heart

(SOMEONE COULD LOSE A HEART TONIGHT: Eddie Rabbit)

 All is okay. She looks up at movement outside through the stained glass  
window of Moses getting water from a rock.)   
SCULLY: What?   
REYES: There's someone out there. Stay here.   
(REYES pulls her gun from the holster at the small of her back and goes  
outside. 

***Dum, dum Dum Honey what have you done?  
Dum, Dum, dum It's the sound of my gun  
Dum dum dum honey what have you done  
Dum dum dum it's the sound it's the sound  
Nah, nah, nah, Nah, nah, nah,  
Nah, nah, nah.....  
Janie's got a gun, Janies got a gun  
Her whole world's come undone, from looking straight at the sun  
What did her daddy do? What did he put you through?

They said when Janie was arrested,  
They found him underneath a train,  
But man he had it coming, now that Janie's got a gun  
She ain't never gonna be the same

Janie's got a gun. Janie's got a gun  
Her dog day's just begun, Now everybody is on the run  
Tell me now it's untrue, What did her daddy do?  
He jacked a little bitty baby  
The man has got to be insane  
They say the spell that he was under, The lightning and the thunder  
Knew that someone had to stop the rain

Run away, Run away from the pain, Yeah, yeah, Yeah, yeah  
Run away, Run away from the pain, Yeah, yeah, Yeah Yeahyeah Yeah,  
yeah  
Run away, run away, run,run away.............................

Janie's got a gun, Janie's got a gun  
Her dog day's just begun, Now everybody's on the run  
What did her daddy do? It's Janie's last I.O.U  
She had to take him down easy  
And put a bullet in his brain  
She said cos nobody believes me, The man was such a sleaze  
He aint never gonna be the same

Run away, run away from the pain, Yeah yeah, yeah,yeah, yeah  
Run away, run away,from the pain yeah, yeah, yeahyeah yeah, yeah  
Run away, run away, run, run away...........................

Janie's got a gun, Janie's got a gun  
Janie's got a gun, everybody's on the run. 

(Janie's Got a Gun: Aerosmith)

  
She sees nothing. She walks down the dirt street, sees nothing, and  
finally lowers her weapon. She turns back suddenly at the sound of a  
vehicle approaching. A dirty green SUV whips around the corner and  
drives quickly toward REYES who stands her ground, gun ready. At the  
last second, the SUV stops. The windows are so dirty we can't see  
inside.)   
REYES: Get out of the car! I'm a Federal Agent!   
(SCULLY is watching from the door of the building, but pulls back out of  
sight as the door of the SUV opens. There is what looks like a Forest  
Service emblem on the door. The uniformed GAME WARDEN, an  
outdoorsy-looking woman in her 40's gets out, her hands up. She speaks  
calmly and with authority. Very authentic Southern accent. CarriK  
knows.)   
GAME WARDEN: I don't care who you are. Let's start by putting that  
weapon away. Just point it down now.   
(REYES lowers the gun cautiously.)   
REYES: I'm a Federal Agent.   
GAME WARDEN: I heard you the first time. Just let me see some  
identification.   
(REYES and the GAME WARDEN enter the building.)   
REYES: Dana?   
(SCULLY enters the room slowly, holding up her badge.)   
SCULLY: I'm sure that this looks untoward but my life is in danger. And  
my baby's. There's a man who's pursuing us and it is very important that  
he not find us here.   
GAME WARDEN: We get hunters in here taking deer and game off-season.  
I've heard every excuse in the book but this one's far too original. You  
don't, uh, plan to have it here?   
REYES: It's not as crazy as it sounds. I mean, I hope it's not. She's a  
doctor; she can coach me.   
GAME WARDEN: And what if something goes wrong? If you're a doctor you  
know the risks. You're unprepared here.   
SCULLY: This man... he's extremely dangerous.   
(SCULLY and the GAME WARDEN look at each other a moment. The GAME WARDEN  
nods.)   
GAME WARDEN: I got a first aid kit in my truck. It's pretty basic but  
better to have than not. I'll be back with some towels and proper  
swaddling.   
SCULLY: Thank you.   
(SCULLY and REYES looks at each other as the GAME WARDEN leaves.) 

SCENE 9 

FBI PARKING GARAGE   
2:56 AM   
(DOGGETT parks his car and looks over at MULDER in the passenger seat.) 

***Why must I meet you in a secret rendezvous?  
Why must we steal away to steal a kiss or two?  
Why must we wait to do the things we want to do?  
Why, oh, why, oh, why, oh, why, oh why?

Wish we didn't have to meet secretly  
Wish we didn't have to kiss secretly  
Wish we didn't have to be afraid  
To show the world that we're in love

Till we have the right to meet openly  
Till we have the right to kiss openly  
We'll just have to be content to be in love secretly

Why, oh, why, oh, why, oh, why, oh why?

Wish we didn't have to meet secretly  
Wish we didn't have to kiss secretly  
Wish we didn't have to be afraid  
To show the world that we're in love

Till we have the right to meet openly  
Till we have the right to kiss openly  
We'll just have to be content to be in love secretly

(Secretly: Jimmie Rodgers)

MULDER: Hey. You know, how is it that this friend of yours is so  
desperate for your help? And then when we want to reach him, all of a  
sudden he's unreachable, nowhere to be found?   
DOGGETT: I don't know, maybe he got wind. Maybe he got spooked. But I'm  
beginning to think it doesn't make a damn bit of difference.   
MULDER: You told me that he told you he knew how to stop Billy Miles.  
Are you telling me now that you think he's a liar?   
DOGGETT: He is or he isn't. What the hell difference does it really  
make?   
MULDER: It doesn't make any difference at all. Unless you want to  
protect Scully and that baby.   
DOGGETT: And then what? How long can you keep this up? How long until  
the next Billy Miles rears his head? The next threat? The next phantom?  
You ever stop to ask yourself? 

***In a church,by the face,  
He talks about the people going under.

Only child know...

A man decides after seventy years,  
That what he goes there for, is to unlock the door.  
While those around him criticize and sleep...  
And through a fractal on a breaking wall,  
I see you my friend, and touch your face again.  
Miracles will happen as we trip.

But we're never gonna survive, unless...  
We get a little crazy  
No we're never gonna survive, unless...  
We are a little...

Crazy...crazy...crazy...

           ...Crazy yellow people walking through my head.  
One of them's got a gun, to shoot the other one.  
And yet together they were friends at school  
Ohh, get it, get it, get it, get it no no!

If all were there when we first took the pill,  
Then maybe, then maybe, then maybe, then maybe...  
Miracles will happen as we speak.

But we're never gonna survive unless...  
We get a little crazy.  
No we're never gonna survive unless...  
We are a little...  
Crazy...  
No no, never survive, unless we get a little... bit...

Oh, a little bit...  
Oh, a little bit...

Oh...  
Oh...

Amanda decides to go along after seventeen years...

Oh darlin...  
In a sky full of people, only some want to fly,  
Isn't that crazy?  
In a world full of people, only some want to fly,  
Isn't that crazy?  
Crazy...  
In a heaven of people there's only some want to fly,  
Ain't that crazy?  
Oh babe... Oh darlin...  
In a world full of people there's only some want to fly,  
Isn't that crazy?  
Isn't that crazy... Isn't that crazy... Isn't that crazy...

Ohh...  
But we're never gonna survive unless, we get a little crazy.. crazy..  
No we're never gonna to survive unless we are a little... crazy..  
But we're never gonna survive unless, we get a little crazy.. crazy..  
No we're never gonna to survive unless, we are a little.. crazy..  
No no, never survive unless, we get a little bit...

And then you see things  
The size  
Of which you've never known before

They'll break it

Someday...

Only child know....

Them things  
The size  
Of which you've never known before

Someday...  
Someway...  
Someday...  
Someway...  
Someday...  
Someway...  
Someday...

(Crazy: Seal)

(MULDER listens and is uncomfortable.)   
DOGGETT: All the sacrifice, the blood spilled-- you've given nearly a  
decade of your life. Where the hell is it all going to end?   
(MULDER thinks for a moment.)   
MULDER: (softly) I don't know. Maybe it doesn't.   
(MULDER looks over as another car whips through the garage. He closes  
his door then leans down out of sight.)   
MULDER: Start the car.   
DOGGETT: What?   
MULDER: Alex Krycek just pulled in.   
(DOGGETT starts the engine and follows KRYCEK's car to an upper level.  
KRYCEK parks. There is someone else in the car. DOGGETT stops the car  
close enough to see, but not be conspicuous.)   
DOGGETT: What the hell is he doing here? How did he get security  
clearance?   
MULDER: You recognize his passenger?   
(DOGGETT does recognize the passenger.)   
DOGGETT: Yeah. It's Knowle Rohrer. 

***Let's dance put on your red shoes and dance the blues  
Let's dance to the song they're playin' on the radio

Let's sway while colour lights up your face  
Let's sway sway through the crowd to an empty space

             If you say run, I'll run with you  
             If you say hide, we'll hide  
             Because my love for you  
             Would break my heart in two  
             If you should fall  
             Into my arms  
             And tremble like a flower

Let's dance for fear your grace should fall  
Let's dance for fear tonight is all

Let's sway you could look into my eyes  
Let's sway under the moonlight, this serious moonlight

             If you say run, I'll run with you  
             If you say hide, we'll hide  
             Because my love for you  
             Would break my heart in two  
             If you should fall  
             Into my arms  
             And tremble like a flower

Let's dance put on your red shoes and dance the blues  
Let's dance to the song they're playin' on the radio

Let's sway you could look into my eyes  
Let's sway under the moonlight, this serious moonlight.

(Let's Dance: David Bowie)

SCENE 10  
   
(Night. Democrat Hot Springs. SCULLY is sitting next to a table with a  
few fat candles burning. She is blotting her face with a damp cloth.  
REYES brings over a bucket of water and pours it into the porcelain  
basin.)   
SCULLY: Thank you. Thank you.   
(REYES looks down at SCULLY affectionately.) 

***Blue night and you, alone with me  
My heart has never known such ecstasy  
Am I on earth, am I in heaven?

Can it be the trees that fill the breeze with rare and magic perfume?  
Oh, no, it isn't the trees, it's love in bloom  
Can it be the spring that seems to bring the stars right into this   
room?  
Oh, no, it isn't the spring, it's love in bloom

  My heart was a desert  
  You planted a seed  
  And this is the flower  
  This hour of sweet fulfillment

Is it all a dream, the joy supreme that came to us in the gloom?  
You know it isn't a dream, it's love in bloom

  My heart was a desert  
  But you planted a seed  
  And this is the flower  
  This hour of sweet fulfillment

Is it all a dream, the joy supreme that came to us in the gloom?  
You know it isn't a dream, it's love in bloom

( Love in Bloom: words and music by Leo Robin and Ralph Rainger)  
-

REYES: I have to say with everything I know you must be feeling you look  
amazingly beautiful, Dana. 

***You are so beautiful  
To me  
You are so beautiful  
To me  
Can't you see

You're everything I hope for  
You're everything I need  
You are so beautiful to me  
You are so beautiful to me

You are so beautiful  
To me  
Can't you see  
You're everything I hope for  
You're every, everything I need  
You are so beautiful to me

(You are so beautiful : Joe Cocker)

(SCULLY doesn't know how to respond.)   
SCULLY: And what about what you're feeling? Any vibrations, Agent Reyes? 

*** Tell me -- Are you pickin' up good vibrations  
It's giving me some excitations  
Are you pickin'up good vibrations? 

(Good Vibrations - Wilson/Love)

  
REYES: I don't know.   
(REYES reaches down and puts on her jacket.)   
SCULLY: What?   
REYES: I don't know if I'm just being paranoid... (sighs) �but something  
feels off.   
(SCULLY looks at her curiously.)   
REYES: We need some more water.   
(REYES goes outside with the bucket. She looks up and sees the same  
bright light in the sky in the exact same place as from the night  
before. 

***Star of wonder, star of night  
Star with royal beauty bright  
Westward leading, still proceeding  
Guide us with your wondrous light.

(We three kings, chorus: Christmas carol)

She gazes at it for a moment in confusion, then goes to the  
old-fashioned pump nearby and begins filling the bucket. We see movement  
behind her. As she looks up, BILLY MILES grabs her and flings her  
against the side of a barn.   
She picks up a handy pitchfork and holds it nervously

***I am woman, hear me roar  
In numbers too big to ignore  
And I know too much to go back an' pretend  
'cause I've heard it all before  
And I've been down there on the floor  
No one's ever gonna keep me down again

CHORUS  
Oh yes I am wise  
But it's wisdom born of pain  
Yes, I've paid the price  
But look how much I gained  
If I have to, I can do anything  
I am strong (strong)  
I am invincible (invincible)  
I am woman

You can bend but never break me  
'cause it only serves to make me  
More determined to achieve my final goal  
And I come back even stronger  
Not a novice any longer  
'cause you've deepened the conviction in my soul

CHORUS

I am woman watch me grow  
See me standing toe to toe  
As I spread my lovin' arms across the land  
But I'm still an embryo  
With a long long way to go  
Until I make my brother understand

Oh yes I am wise  
But it's wisdom born of pain  
Yes, I've paid the price  
But look how much I gained  
If I have to I can face anything  
I am strong (strong)  
I am invincible (invincible)  
I am woman  
Oh, I am woman  
I am invincible  
I am strong

  FADE  
I am woman  
I am invincible  
I am strong  
I am woman

(I am Woman: Helen Reddy)

 as BILLY MILES approaches her. 

***Ahh, ha  
I'm almost human, can't help feelin' strange  
The moon is out, I think I'm gonna change

You're so smooth and tender, a living, breathing dream  
I've got to have you, baby, I'm listenin' for your  
scream

I'm almost human, I'm almost a man  
I'm almost human, ooh

I'm almost human, baby please don't run away  
'Cause wherever you run I'll be your scrape-away

I'm very hungry and you're what I'm thinkin' of  
Ooh baby, baby, baby, so hungry for your love

I'm almost human, oh, almost a man  
I'm almost human, whoo

I'm very hungry and you're what I'm thinkin' of  
Ooh baby, baby, baby, so hungry for your love

I'm almost human, I'm almost a man  
I'm almost human, I'm almost human  
I'm almost human, I'm almost human  
I'm almost human, almost, almost, almost a man  
I'm almost human  
Almost, almost, almost, almost, almost, almost human  
I'm almost human, I'm almost human  
I'm almost human, almost a man  
I'm almost human, almost, almost, almost  
I'm almost human

(Almost Human: KISS)

Suddenly, there is a loud gun blast. BILLY MILES is thrown to the  
ground, a large bloody hole in his torso. He doesn't move. The GAME  
WARDEN comes around the side of the building, a large shotgun still  
trained on BILLY MILES. REYES breathes heavily.)   
(REYES and the GAME WARDEN are dragging BILLY MILES' body down the dark  
dirt street. SCULLY comes out of the building to meet them.) 

   
***Sisters are doin' it for themselves.  
Standin' on their own two feet.  
And ringin' on their own bells.  
Sisters are doin' it for themselves.

(Reprise)

REYES: Go back inside, Dana.   
(They drop BILLY MILES and the GAME WARDEN runs to her truck.)   
SCULLY: Who is it?   
(SCULLY looks down and sees who it is.)   
REYES: Dana, it's okay. He's dead.   
(SCULLY is upset.)   
SCULLY: No, it's not okay. What do you mean?   
REYES: Exactly what I said. Now go on inside. We'll take care of this.   
SCULLY: They said that he couldn't be stopped! 

***I'm talking, I'm talking  
I believe in the power of love  
I'm singing, I'm singing  
I believe that you can rescue me

With you I'm not a little girl  
With you I'm not a man  
When all the hurt inside of me  
Comes out, you understand  
You see that I'm ferocious  
You see that I am weak  
You see that I am silly  
And pretensious and a freak  
But I don't feel too strange for you  
Don't know exactly what you do  
I think when love is pure you try  
To understand the reasons why  
And I prefer this mystery  
It cancels out my misery  
And gives me hope that there could be  
A person that loves me

Rescue me  
Your love has given me hope  
Rescue me I'm drowning  
Baby throw out your rope

With you I'm not a fascist  
Can't play you like a toy  
And when I need to dominate  
You're not my little boy  
You see that I am hungry  
For a life of understanding  
And you forgive my angry little heart  
When she's demanding  
You bring me to my knees  
While I'm scratching out the eyes  
Of a world I want to conquer  
And deliver and despise  
And right while I am standing there  
I suddenly begin to care  
And understand that there could be  
A person that loves me

Rescue me  
Your love has given me hope  
Rescue me I'm drowning  
Baby throw out your rope

Love is understanding  
\- It's hard to believe  
Life can be so demanding  
I'm sending out an S.O.S.  
Stop me from drowning  
Baby I'll do the rest

Rescue me  
Your love has given me hope  
Rescue me I'm drowning  
Baby throw out your rope

Ooh ahh love is understanding  
Ooh ahh love is understanding

Love is understanding  
\- It's hard to believe  
Life can be so demanding  
I'm sending out an S.O.S.  
Rescue me, rescue me

It's not my business to decide  
How good you are for me  
How valuable you are  
And what the world can see  
Only that you try to understand me  
And have the courage  
To love me for me

I believe in the power

I believe that you can rescue me

(Rescue me: Madonna)

REYES: Dana, he's got no vitals. He's lost too much blood.   
(SCULLY looks down at the body again. REYES notices BILLY MILES neck and  
folds back the collar, exposing the lumps. The GAME WARDEN has brought  
her truck around.)   
GAME WARDEN: Is this the man you're afraid of? How did he find you out  
here? I do have to report this thing.   
SCULLY: No, you can't do that. 

***I have a tale to tell  
Sometimes it gets so hard to hide it well  
I was not ready for the fall  
Too blind to see the writing on the wall

Chorus:

A man can tell a thousand lies  
I've learned my lesson well  
Hope I live to tell  
The secret I have learned, 'till then  
It will burn inside of me

I know where beauty lives  
I've seen it once, I know the warm she gives  
The light that you could never see  
It shines inside, you can't take that from me

(chorus)

2nd Chorus:

The truth is never far behind  
You kept it hidden well  
If I live to tell  
The secret I knew then  
Will I ever have the chance again

If I ran away, I'd never have the strength  
To go very far  
How would they hear the beating of my heart  
Will it grow cold  
The secret that I hide, will I grow old  
How will they hear  
When will they learn  
How will they know

(Live to Tell: Madonna)

GAME WARDEN: I don't have any real choice.   
(SCULLY is looking inward.)   
SCULLY: No, I mean, I, um... I just felt a contraction.   
(The GAME WARDEN looks back at REYES who looks very nervous.) 

SCENE 11 

(FBI parking garage. DOGGETT and MULDER are still watching KRYCEK's car.  
They see movement.)   
DOGGETT: Something's happening.   
(KNOWLE ROHRER gets out of the car and heads for the elevators.)   
DOGGETT: Where's he going?   
MULDER: Not to see you, that's for sure.   
DOGGETT: Who the hell's he going to see?   
(DOGGETT gets out of the car and turns back to MULDER.)   
MULDER: You go ahead. I got Krycek. 

***Midnight, gettin' uptight. Where are you?  
You said you'd meet me, now it's quarter to two  
I know I'm hangin' but I'm still wantin' you.

Hey, Jack, It's a fact they're talkin' in town.  
I turn my back and you're messin' around.  
I'm not really jealous, don't like lookin' like a clown.

I think of you ev'ry night and day.  
You took my heart, then you took my pride away.

I hate myself for loving you .  
Can't break free from the the things that you do.  
I wanna walk but I run back to you, that's why  
I hate myself for loving you .

Daylight, spent the night without you.  
But I've been dreamin' 'bout the lovin' you do.  
I won't be as angry 'bout the hell you put me through.

Hey, man, bet you can treat me right.  
You just don't know what you was missin' last night.  
I wanna see your face and say forget it just from spite.

I hate myself for loving you .  
Can't break free from the the things that you do.  
I wanna walk but I run back to you, that's why  
I hate myself for loving you.

I hate myself for loving you.  
Can't break free from the things that you do.  
I wanna walk but I run back to you, that's why  
I hate myself for loving you .

I think of you ev'ry night and day.  
You took my heart, then you took my pride away.

I hate myself for loving you .  
Can't break free from the the things that you do.  
I wanna walk but I run back to you, that's why  
I hate myself for loving you .  
I hate myself for loving you .  
I hate myself for loving you .  
.  
(I Hate Myself For Loving You: Joan Jett)

(DOGGETT runs up the stairs. He stops at the third floor and looks  
briefly out into the hall. Sees nothing. He runs up to the fourth floor  
and enters the hall. Nothing. He hears the elevator ding. KNOWLE ROHRER  
exits the elevator, and as DOGGETT watches from around a corner, he  
enters KERSH's outer office and knocks. AGENT CRANE joins him from  
inside KERSH's office. What sounds like KERSH's voice is coming out of  
the office. KNOWLE ROHRER and AGENT CRANE listen, then heads back to the  
elevator. After they are out of sight, 

***I can feel it coming in the air tonight, Oh Lord  
I've been waiting for this moment, all my life, Oh Lord  
Can you feel it coming in the air tonight, Oh Lord, Oh Lord

Well, it you told me you were drowning  
I would not lend a hand  
I've seen your face before my friend  
But I don't know if you know who I am  
Well, I was there and I saw what you did  
I saw it with my own two eyes  
So you can wipe off the grin, I know where you've been  
It's all been a pack of lies

CHORUS

And I can feel it coming in the air tonight, Oh Lord  
I've been waiting for this moment for all my life, Oh Lord  
I can feel it in the air tonight, Oh Lord, Oh Lord  
And I've been waiting for this moment all my life, Oh Lord, Oh Lord

Well I remember, I remember don't worry  
How could I ever forget, it's the first time, the last time we ever  
met  
But I know the reason why you keep your silence up, no you don't fool  
me  
The hurt doesn't show; but the pain still grows  
It's no stranger to you or me

(In The Air Tonight: Phil Collins)

DOGGETT runs to SKINNER's fifth floor office and picks up the  
ASSISTANT's phone and starts to dial.)   
SKINNER: Agent Doggett?   
(DOGGETT turns, hangs up, startled to see SKINNER.)   
DOGGETT: What are you doing here?   
SKINNER: They let me out of the hospital tonight. What are you doing  
here?   
DOGGETT: I got Mulder down in the parking garage watching Alex Krycek.   
(DOGGETT picks up a phone again and dials.)   
SKINNER: What the hell is Krycek doing here?   
(SKINNER really, REALLY doesn't like KRYCEK.)   
DOGGETT: That's what I'm trying to figure out. 

***Hello  
Thanks for calling  
Leave a message at the tone

Every time I try to call you  
I get three rings a click and hiss  
And then a voice is speaking  
It indicates I made a mistake  
I should have called earlier.  
Now I find I'm calling  
At times I know that you're not home  
Your phone it always listens  
And makes me feel I'm not alone

I know my behaviour is peculiar  
I know it's an inanimate object  
But is love only love when love's returned?  
I'm in love with your fonemate  
I'm in love with your machine  
It's thrown me for a tape loop  
Please don't be home  
I'll leave a message at the tone.

(Fonemate: Throat Culture)

(MULDER, still in the car, watching KRYCEK answers his cell phone.)  
MULDER: (on phone) Yeah?   
DOGGETT: (on phone) He's here with Agent Crane.   
MULDER: (on phone) Agent Crane? How the hell does he know Agent Crane?   
DOGGETT: (on phone) That's a damn good question. He doesn't.   
(SKINNER picks up the other extension and listens in.)   
MULDER: (on phone) You been wondering who's getting these guys past  
security, how Billy Miles is in the FBI? Agent Crane is in on this with  
your friend, which means he's in on it with Krycek. They've been in on  
it all along.   
DOGGETT: (on phone) I don't understand. In on what?   
MULDER: (on phone) Fooling us, Agent Doggett. Into chasing after Billy  
Miles. Into believing that we could protect her.   
DOGGETT: (on phone) Scully?   
MULDER: (on phone) Yes, they know where she is.   
DOGGETT: (on phone) No, no, no. Only I know where she is.   
MULDER: (on phone) You and Agent Reyes. You called her from a phone  
inside the FBI, didn't you?   
SKINNER: (on phone) There's no way Crane can tap calls in here, Mulder.  
He'd have to have access to the communications system.   
DOGGETT: (on phone) Skinner's here with me.   
MULDER: (on phone) Maybe this goes even higher. Listen to me, I've got  
to get to Scully. You've got to tell me where she is, where you sent  
her.   
DOGGETT: (on phone) Look. We can nail these guys here, Mulder. We can  
put an end to it.   
MULDER: (on phone) No, you listen. You've got to get out of there.  
You've got no guarantee these guys aren't alien replacements, too.   
(DOGGETT sighs and rubs his temples.)   
DOGGETT: (on phone) Northern Georgia.

*** Georgia, Georgia   
No Peace, No Peace I find.  
Just an old sweet song,   
Keeps Georgia on my mind.

 A place called Democrat Hot Springs.   
(MULDER looks over to KRYCEK's car. It is empty. Suddenly, the car  
window shatters beside him. KRYCEK grabs MULDER's phone.)   
DOGGETT: (on phone) Mulder!   
(KRYCEK crushes MULDER's phone under his foot. There goes another one.  
KRYCEK cocks the gun and holds it on MULDER. At least he won't have to  
fill out a report on this one.)   
KRYCEK: Get out of the car.   
(MULDER resignedly climbs out the driver's side to avoid the shattered  
glass.)   
KRYCEK: Doesn't seem fair now. Doesn't seem right. Coming down to this.   
MULDER: What do you know about fair or right, Krycek? You're a coward.   
(MULDER slowly walks around the car to face KRYCEK.)   
KRYCEK: I could've killed you so many times, Mulder. You've got to know  
that. I'm the one that kept you alive. (his voice cracks a little)  
Praying you'd win somehow.   
MULDER: Then there really is no God.   
KRYCEK: You think I'm bad.  
   
****I'm Bad, I'm Bad-  
Come On  
(Bad Bad-Really, Really Bad)  
You Know I'm Bad, I'm Bad-  
You Know It  
(Bad Bad-Really, Really Bad)  
You Know I'm Bad, I'm Bad-  
Come On, You Know  
(Bad Bad-Really, Really Bad)  
And The Whole World Has To  
Answer Right Now  
Just To Tell You Once Again,  
Who's Bad . . .

(Michael Jackson)

 That I'm a killer. We wanted the same thing, brother. That's what you  
don't understand.   
MULDER: I wanted to stop them. All you wanted was to save your own ass.   
KRYCEK: No. I tried to stop them. Tried to kill � Scully's baby to stop  
them. It's too late.

***It's too late, baby.  
Now it's too late.  
'Though we really did try to make it  
Something inside me has died   
And I can't hide   
and I just can't fake it

 The tragedy's that you-- you wouldn't let it go. That's why I have to  
do this. 'Cause you know how deep it goes. Right into the FBI.   
MULDER: You want to kill me, Alex, kill me. Like you killed my father.  
Just don't insult me trying to make me understand.   
(KRYCEK's finger slowly and reluctantly tightens on the trigger. His  
face is contorted with indecision. MULDER is calm. He and MULDER stare  
at each other. 

*** i find it hard to imagine  
this world without guns and wars  
when we have our own private battles  
our own bashing and slamming of doors  
what makes us want to hurt each other  
can you help me to understand  
why does history repeat itself  
and a man keep killing a man

(CHORUS)  
if i believe like you believe  
then i guess we can be one  
but when it comes down to the crossfire babe  
it's down to the will  
down to the will of the gun

i get so tired by how late it's got  
that i wonder if i'm awake or if i'm not  
we've come this far but there's so far to go  
we've learned so much but we still don't know  
we used to care for each other  
i remember we were good friends once  
but now we barely talk to each other  
we got nothing to say: and the deal is done

(CHORUS)

are we oblivious to the stains on the sheets  
have we grown immune to the blood on the street  
the colour of my flag ain't the colour of your skin  
why must somebody lose so  
somebody can win

if i believe like you believe  
then i guess we can be one  
but when it comes down to the crossfire babe  
it's down to the will of the gun  
if i believe like you believe  
then i guess it comes down to religion  
but when it comes down to the crossfire babe  
it's down to the will  
down to the will of the gun  
ooooo...the will of the gun

(Will of the Gun by Tom Cochrane.)

A gun is fired. KRYCEK gasps in pain and falls, dropping his gun. There  
is a bullet wound in his right arm. He looks up and sees SKINNER a few  
yards away, gun in hand.

***Hold on  
Hold on to yourself  
for this is gonna hurt like hell.

Hold on  
Hold on to yourself.  
You know that only time can tell

what is it in me that refuses to believe  
this isn't easier than the real thing.

My love  
you know that you're my best friend.  
You know that I'd do anything for you  
and my love  
let nothing come between us  
my love for you is strong and true.

Am I in heaven here or  
am I...  
At the crossroads I am standing.

So now you're sleeping peaceful  
I lie awake and pray  
that you'll be strong tomorrow  
and will see another day  
and we will praise it  
and love the light that brings a smile  
across your face.

Oh god  
if you're out there won't you hear me.  
I know we're never talked before

and oh god  
the man I love is leaving  
won't you take him when he comes to your door.

Am I in heaven here or  
am I in hell  
at the crossroads I am standing.

So now you're sleeping peaceful  
I lie awake and pray  
that you'll be strong tomorrow  
and we will see another day  
and we will praise it  
and love the light that brings a smile  
across your face

Hold on  
hold on to yourself  
for this is gonna hurt like hell.

(Hold On by Sarah McLachlan.

  
 KRYCEK reaches down to pick up his gun and screams in pain and falls to  
the ground again as SKINNER shoots him in the right arm again. His arm  
is now useless. Weakly, KRYCEK uses his prosthetic left arm to push his  
most definitely unregistered gun toward SKINNER.)   
KRYCEK: It's going to take more bullets than you can... ever fire to win  
this game. But one bullet... and I can give you a thousand lives.   
(He looks up at MULDER.)   
KRYCEK: Shoot Mulder. 

 (SKINNER looks at MULDER. MULDER looks at SKINNER. SKINNER raises his  
gun and fires. 

*** (Alex begins to sing )  
   
Bang bang you shot me down  
Bang bang I hit the ground  
Bang bang that awful sound  
Bang bang my baby shot me down

KRYCEK, falls to the ground, a bullet hole between his eyes.   
Without any regret, MULDER glances at SKINNER, then walks to the  
driver's side of the car.)   
MULDER: I'm going to go to the airport. I need that location from Agent  
Doggett.   
MULDER: Skinner, are you with me?   
SKINNER: You just go. I'll get him.   
(As MULDER starts the car and drives away, SKINNER glances down at  
KRYCEK's dead body, 

(Skinner sings)  
   
*** And it seems to me you lived your life  
Like a candle in the wind  
Never knowing who to cling to  
When the rain set in  
And I would have liked to save you  
But somehow never did  
Your candle burned out long ago  
Your legend never did

(Candle in the Wind --Elton John)

then slowly turns and walks away.)

SCENE 12  
   
(Democrat Hot Springs. SCULLY is sitting on the daybed and groaning  
heavily. The GAME WARDEN dampens a cloth and runs to kneel between  
SCULLY's legs.)   
GAME WARDEN: They're two minutes apart now. It's not going to be long.   
(REYES holds up what looks like a gray t-shirt. Mulder's?)   
REYES: How's this?   
SCULLY: That's great.   
(REYES looks down in horror at the GAME WARDEN's exposed neck. She has  
the bumps.)   
(CUT TO: Inside the FBI building. DOGGETT is looking around KERSH's  
office? He goes out into the hall in time to see AGENT CRANE and KNOWLE  
ROHRER come out of the elevator. DOGGETT holds his gun on them.)   
DOGGETT: Right there! Both of you! 

***Stop In The Name of Love  
Before you break apart  
Think it Over  
Think it Over

(They begin walking toward him.)   
DOGGETT: I'm prepared to use force!   
(They keep coming. DOGGETT runs. This will not win him points on  
AutumnT's Manly Man Meter. He runs down the stairs and meets up with  
SKINNER who pulls him toward the parking deck.)   
SKINNER: Come on! Agent Doggett... come on! 

(Skinner sings ) 

****Come on down to my house  
Come on down to my house  
Bet your ass we'll have a real good time  
Come on down to my house

Bring your baby sister  
Bring your baby sister  
It's ages since I kissed her  
Come on down to my house

(CUT TO: Democrat Hot Springs. SCULLY is now wearing the gray t-shirt.  
Nervously, REYES sets a bucket of cold water next to a bucket of boiling  
water on a table and hands the GAME WARDEN a glass of water dipped from  
the cold bucket.)   
REYES: Here you go.   
(The GAME WARDEN hands the glass to SCULLY.)   
SCULLY: Thank you.   
(SCULLY, now wearing the gray t-shirt, takes a sip of water and hands  
the glass back to the GAME WARDEN.)   
SCULLY: Thank you. 

***I can't fight this feeling any longer.  
And yet I'm still afraid to let it flow.  
What started out as friendship,  
Has grown stronger.  
I only wish I had the strength to let it show.

I tell myself that I can't hold out forever.  
I said there is no reason for my fear.  
Cause I feel so secure when we're together.  
You give my life direction,  
You make everything so clear.

And even as I wander,  
I'm keeping you in sight.  
You're a candle in the wind,  
On a cold, dark winter's night.  
And I'm getting closer than I ever thought I might.

And I can't fight this feeling anymore.  
I've forgotten what I started fighting for.  
It's time to bring this ship into the shore,  
And throw away the oars, forever.

Cause I can't fight this feeling anymore.  
I've forgotten what I started fighting for.  
And if I have to crawl upon the floor,  
Come crushing through your door,  
Baby, I can't fight this feeling anymore.

My life has been such a whirlwind since I saw you.  
I've been running round in circles in my mind.  
And it always seems that I'm following you, girl,  
Cause you take me to the places,  
That I'd known I'd never find.

And even as I wander,  
I'm keeping you in sight.  
You're a candle in the wind,  
On a cold, dark winter's night.  
And I'm getting closer than I ever thought I might.

And I can't fight this feeling anymore.  
I've forgotten what I started fighting for.  
It's time to bring this ship into the shore,  
And throw away the oars, forever.

Cause I can't fight this feeling anymore.  
I've forgotten what I started fighting for.  
And if I have to crawl upon the floor,  
Come crushing through your door,  
Baby, I can't fight this feeling anymore.

(Can't Fight This Feeling: REO Speedwagon)

(REYES picks up the bucket of boiling water and flings it into the GAME  
WARDEN's face. The GAME WARDEN screams in agony. REYES pulls out her  
gun.)   
REYES: Move!   
(SCULLY is very confused and very in labor.)   
SCULLY: Agent Reyes... what?   
(REYES cocks the shotgun gun, holding it on the GAME WARDEN who is in a  
great deal of pain.) 

***Please, baby can't you see my mind's a burnin' hell  
I got razors a rippin' and tearin' and strippin'  
My heart apart as well  
Tonight you told me that you ache for something new  
And some other woman is lookin' like something  
That might be good for you

1-Go on and hold her till the screaming is gone  
  Go on believe her when she tells you  
  Nothing's wrong

  But I'm the only one who'll walk across  
  The fire for you  
  I'm the only one who'll drown in my  
  Desire for you

  It's only fear that makes you run  
  The demons that you're hiding from  
  When all your promises are gone  
  I'm the only one

Please, baby, can't you see, I'm trying to explain  
I've been here before, and I'm locking the door  
And i'm not going back again  
Her eyes and arms and skin won't make it go away  
You'll wake up tomorrow, and wrestle the sorrow  
That holds you down today 

(I'm The Only One: Melissa Etheridge)

REYES: Move out of here!   
(Screaming, GAME WARDEN crawls outside, followed by REYES.)   
SCULLY: What's happening?   
(The GAME WARDEN is kneeling on the porch. Her face is badly blistered  
from the heat of the water, but her voice is strong.)   
REYES: Who are you?!

(Game Warden sings)  
***I can wash out forty-four pairs of socks  
And have them hangin out on the line  
I can starch and iron two dozen shirts  
Before you can count from one to nine  
I can scoop up a great big dipper  
Full of lard from the drippin's can  
Throw it in the skillet, go out and do my  
Shopping and be back before it melts in the pan  
'Cause I'm a woman  
Double U O M A N  
I'll say it again

I can rub and scrub till this old house  
Is shinin like a dime  
Feed the baby, grease the car and  
Powder my face at the same time  
Get all dressed up, go out and swing  
Till four a.m. and then  
Lay down at five, jump up at six  
And start all over again  
'Cause I'm a woman  
Double U O M A N  
I'll say it again

If you come to me sickly, you know  
I'm gonna make you well  
If you come to me hexed up,  
You know I'm gonna break the spell  
If you come to me hungry,  
You know I'm gonna fill you full o' grits  
If it's lovin' you're lackin, I'll kiss you  
And give you the shiverin fits  
'Cause I'm a woman  
Double U O M A N  
I'll say it again

I can stretch a greenback dollar bill  
From here to kingdom come  
I can play the numbers, pay my bills  
And still end up with some  
I got a twenty dollar gold piece says  
There ain't nothin I can't do  
I can make a dress out of a feed bag  
And I can make a man out of you  
'Cause I'm a woman  
Double U O M A N  
I'll say it again  
'Cause I'm a woman  
Double U O M A N  
And that's all 

(I'M A WOMAN: Maria Muldaur)

(Cars and trucks begin arriving around the building.) 

*** (Sound track for any FORD truck/SUV commercial)

GAME WARDEN: This baby will be born.   
(REYES lowers the shotgun in shock as she watches BILLY MILES stand up  
from where he had been lying dead in the street. "People" begin getting  
out of the cars and walking toward the building. From inside the  
building SCULLY screams.)   
SCULLY: Agent Reyes!   
(CUT TO: FBI parking garage. DOGGETT and SKINNER come running out of the  
stairwell.)   
SKINNER: The Blazer!   
(DOGGETT and SKINNER get in the SUV. SKINNER starts the engine.)   
SKINNER: Get Mulder on the phone!   
(SKINNER pulls the SUV out of the parking space. AGENT CRANE and KNOWLE  
ROHRER come out of the elevator and split up to pursue DOGGETT and  
SKINNER. SKINNER guns the engine and runs into AGENT CRANE who shatters  
the windshield as he is tossed over the top of the vehicle. They look  
behind. Nothing. DOGGETT has just enough time to take a sigh of relief  
before AGENT CRANE leans over from his perch on top of the moving  
vehicle and shatters the passenger window.)   
(CUT TO: Democrat Hot Springs. REYES comes back into the building and  
kneels between SCULLY's legs. SCULLY is gasping and sweating.)   
SCULLY: What's happening?! What?   
(REYES is trying to be calm and comforting.)   
REYES: It's okay, Dana.   
SCULLY: What... What...   
REYES: It's going to be okay.   
(SCULLY looks up at the door as a group of people led by BILLY MILES  
silently enter.)   
SCULLY: (groaning in horror) No! 

***So what would Brian Boitano do  
If he were here today,  
I'm sure he'd kick an ass or two,  
That's what Brian Boitano'd do.

(What Would Brian Boitano Do? This is from the South Park - Bigger,  
Longer & Uncut  
movie soundtrack. It's sung by Stan Marsh, Kyle  
Broflovski and Eric Cartman.)

(REYES grimaces sadly as she sees them enter. SCULLY gasps in agony and  
terror. Another labor pain hits her)   
(CUT TO: FBI parking garage. DOGGETT and AGENT crane are struggling as  
SKINNER tries to maneuver the SUV down the ramp of the parking deck.  
KNOWLE ROHRER is following them in his car.)   
SKINNER: Get him off!   
(DOGGETT gasps for breath as AGENT CRANE gets him around the neck.)   
(CUT TO: Democrat Hot Springs. BILLY MILES and the other Replicants are  
standing around SCULLY's bed as she is in the final stages of labor,  
groaning in agony. REYES is concentrating only on SCULLY and the baby.  
SCULLY is staring at the Replicants in fear.)   
SCULLY: This is my baby!   
REYES: You've got to push, Dana.   
SCULLY: (begging pitifully) Please don't let them take it!   
(CUT TO: FBI parking garage. KNOWLE ROHRER, his face grim, speeds  
through the deck in a dark sedan.)   
(CUT TO: Democrat Hot Springs. Labor intensifies.)   
REYES: Come on, Dana. Push! 

***(Reyes & Dana Duet)   
Reyes -- No one said it would be easy   
Dana -- But no one said it'd be this hard   
Reyes -- No one said it would be easy   
Dana No one thought I'd come this far

(NO ONE SAID IT WOULD BE EASY)

(SCULLY screams.)   
(CUT TO: FBI parking garage. DOGGETT continues to struggle with AGENT  
CRANE as SKINNER drives.)   
(CUT TO: Democrat Hot Springs. SCULLY groans.)   
SCULLY: Please don't let this happen.   
REYES: Dana, push!   
(SCULLY screams defiantly at BILLY MILES, the GAME WARDEN, and the other  
Replicants.)   
SCULLY: It's mine! 

*** Give me something real  
I just want to feel  
Like it's  
Mine, all mine  
Oh really mine, all mine  
Come on give me something  
Something that's mine, all mine, all mine  
Mine, all mine

(Mine, All Mine -- E Van Halen)

(CUT TO: FBI parking garage. DOGGETT still struggles with AGENT CRANE.)   
SKINNER: Hold on!   
(SKINNER steers the SUV close to a concrete support. AGENT CRANE is  
knocked off. A moment later, KNOWLE ROHRER hits AGENT CRANE with his  
car, sending him flying. Then, KNOWLE ROHRER crashes his car into the  
wall. CAR explodes in a fiery inferno.

**** (Rohrer Sings ) 

I'm driving in my car, I turn on the radio  
I'm pulling you close, you just say no  
You say you don't like it, but man I know you're a liar  
`Cause when we miss, Fire

Late at night I'm takin' you home  
I say I wanna stay, you say you wanna be alone  
You say you don't love me, man you can't hide your desire  
`Cause when you hiss, Fire

Fire -- Bruce Springsten

  
 It doesn't look intentional.) 

*** (Skinner and Doggett sing)

Another one bites the dust  
Another one bites the dust  
And another one gone, and another one gone  
Another one bites the dust  
Hey, I'm gonna get you too  
Another one bites the dust

(Another One Bites the Dust: Queen)

*****  
(CUT TO: Democrat Hot Springs. SCULLY is yelling desperately.)   
REYES: Harder! Push, Dana!   
(SCULLY is silent a moment, straining, whimpering. The Replicants are  
watching.)   
REYES: Keep breathing, Dana. Keep breathing.   
SCULLY: (pleading) Please don't let them take it!   
REYES: Push! Push. Push, Dana, push!   
(SCULLY does, crying out in pain. A newborn baby's cry joins hers. REYES  
is suddenly very busy between SCULLY's legs. Gasping both in relief and  
fear, SCULLY grips the iron bed as she looks up at BILLY MILES and the  
others who stand watching, silent and still. The baby cries in the  
background.)   
(CUT TO: Helicopter above Democrat Hot Springs. MULDER on headset gives  
instructions to the pilot.)   
MULDER: Down there. Get me down there.   
(The helicopter lands and MULDER gets out. The Replicants are all  
getting back into their cars and trucks and leaving.

*** (Sound track to yet another FORD truck/SUV commercial)

 MULDER runs between them trying to get someone to talk to him. They all  
ignore him.)   
MULDER: Hey! Scully! Scully! Where is she?! Scully! Where is she?!  
(yelling) Scully! Where is she? Tell me where she is! 

***As my life goes on I believe  
Somehow something's changed  
Something deep inside  
Ooh a part of me

There's a strange new light in my eyes  
Things I've never known  
Changin' my life  
Changin' me

I've been searchin'  
So long  
To find an answer  
Now I know my life has meaning  
Ow oh

Now I see myself as I am  
Feeling very free  
Life is everything  
Ooh it's meant to be  
When my tears have come to an end  
I will understand  
What I left behind  
Part of me

I've been searching  
So long  
To find and answer  
Now I know my life has meaning  
Woah woah

Searching  
Don't you know I'm hell yeah  
For an answer  
To the question  
Oh yeah  
For our minds  
Baby  
Baby it's true  
It's only natural  
It's only natural baby, yeah  
Good things  
In life  
Take a long time  
yeah yeah

((I've Been) Searchin' So Long: Chicago, (James Pankow))

(REYES come out of the building.)   
REYES: Mulder!   
(MULDER runs to REYES. The helicopter still hovers a few feet from the  
ground.)   
MULDER: How is she?   
(REYES is exhausted.)   
REYES: She's inside. She needs to get to the hospital.   
(MULDER looks at her for a second with concern only for SCULLY, then  
enters the building.) 

(Reyes sings)

***Take a bow, the night is over  
This masquerade is getting older  
Light are low, the curtains down  
There's no one here  
[There's no one here, there's no one in the crowd]  
Say your lines but do you feel them  
Do you mean what you say when there's no one around [no one around]  
Watching you, watching me, one lonely star  
[One lonely star you don't know who you are]

Chorus:

I've always been in love with you [always with you]  
I guess you've always known it's true [you know it's true]  
You took my love for granted, why oh why  
The show is over, say good-bye

Say good-bye [bye bye], say good-bye

Make them laugh, it comes so easy  
When you get to the part  
Where you're breaking my heart [breaking my heart]  
Hide behind your smile, all the world loves a clown  
[Just make 'em smile the whole world loves a clown]  
Wish you well, I cannot stay  
You deserve an award for the role that you played [role that you  
played]  
No more masquerade, you're one lonely star  
[One lonely star and you don't know who you are]

(chorus, repeat)

Say good-bye [bye bye], say good-bye

All the world is a stage [world is a stage]  
And everyone has their part [has their part]  
But how was I to know which way the story'd go  
How was I to know you'd break  
[You'd break, you'd break, you'd break]  
You'd break my heart

I've always been in love with you  
[I've always been in love with you]  
Guess you've always known  
You took my love for granted, why oh why  
The show is over, say good-bye

(chorus)

Say good-bye [bye bye], say good-bye  
Say good-bye

(Take A Bow: Madonna)

  
SCENE 13 

(KERSH's office. DOGGETT is sitting in front of the desk. KERSH is tense  
and furious.)   
KERSH: I'm to take this story seriously? These incidents at the FBI.  
This account of Agent Scully's birth. I'm to submit this report as  
quality investigative work? As representative of actual fact?   
DOGGETT: I signed the report there, sir.   
KERSH: Yeah, I see it, John. And I see her signature here, too. On an  
X-File.   
(We now see that REYES is sitting beside DOGGETT.)   
KERSH: (sarcastically) I'd like to know when you assigned yourself,  
Agent Reyes.   
REYES: Agent Doggett assigned me, sir.   
KERSH: Agent Doggett cannot just assume the authority of this office.   
DOGGETT: I assume it because this office is under investigation. For the  
late-night meeting between you, Agent Crane, and an intelligence  
operative named Knowle Rohrer.   
REYES: Both men were presumed dead but are now missing. In actual fact.   
(KERSH looks rather nervous. DOGGETT opens the door for REYES.)   
KERSH: You investigate what I tell you. 

***I have a mansion but forget the price  
Ain't never been there, they tell me its nice  
I live in hotels, tear out the walls  
I have accountants pay for it all

They say I'm crazy but I have a have a good time  
I'm just looking for clues at the scene of the crime  
Life's been good to me so far

My Maseratti does one-eighty-five  
I lost my license, now I dont drive  
I have a limo, ride in the back  
I lock the doors in case I'm attacked

I'm making records, my fans they can't wait  
They write me letters, tell me I'm great  
So I got me an office, gold records on the wall  
Just leave a message, maybe I'll call

Lucky I'm sane after all I've been through  
I cant complain but sometimes I still do  
Life's been good to me so far

I go to parties sometimes until four  
It's hard to leave when you can't find the door  
It's tough to handle this fortune and fame  
Everybody's so different, I haven't changed

They say I'm lazy but it takes all my time  
I keep on goin' guess I'll never know why  
Life's been good to me so far

(LIFE'S BEEN GOOD: Joe Walsh)

DOGGETT: And you put me on the X-Files. That's what I'm investigating.   
(DOGGETT closes the door behind him and REYES as they exit.) 

***(KERSH sings)

I don't know how to love him  
What to do, Why he moves me  
He's a man  
He's just a man  
And I've had so many men before  
In many different ways  
He's just one more  
Should I scream and shout  
Should I speak of love  
Let my feelings out?  
I never thought it would come to this  
What's it all about?  
What's it all about? 

(Jesus Christ Superstar)

SCENE 14 

(MULDER uses his key to enter SCULLY's apartment. He looks around the  
living room as he fingers the key thoughtfully. He walks toward the  
bedroom and stands near the doorway. The LONE GUNMEN are there, looking  
at something in the bedroom. They are all holding gifts. 

*** We three kings of Orient are  
Bearing gifts, we traverse afar,  
Field and fountain, moor and mountain  
Following yonder star.

(We three kings: Christmas Carol)

As one, they look up at MULDER. FROHIKE looks back into the room.)   
FROHIKE: Get some rest.   
[CLOSED CAPTIONING: SCULLY: Yeah.]   
(The LONE GUNMEN join MULDER in the living room. Everyone is speaking  
softly.)   
FROHIKE: We didn't hear you come in.   
LANGLY: We were just dropping off gifts.   
BYERS: We just wanted to...   
MULDER: See it with your own eyes.   
FROHIKE: It's incredible, you know? You arriving in time to save Scully.  
Getting her to a hospital.   
BYERS: We still don't know how you did it. Speaking with Agent Doggett  
he said they never reached you with specific coordinates.   
(Pause. MULDER has a small smile.)   
MULDER: There was a light. I followed it. 

***Star of wonder, star of night  
Star with royal beauty bright  
Westward leading, still proceeding  
Guide us with your wondrous light.

(We three kings, chorus: Christmas carol)

(The GUNMEN set their presents on a table.)   
LANGLY: Guess we got our next headline.   
(The GUNMEN leave. MULDER waits a moment, then enters the bedroom,  
smiling. SCULLY is sitting on the edge of the bed against the headboard.  
She is wearing white satin pajamas and a loose blue robe. She is holding  
a small bundle of blankets.)

***Baby, baby  
I'm taken with the notion  
To love you with the sweetest of devotion.

Baby, baby  
My tender love will flow from  
The bluest sky to the deepest ocean.

Stop for a minute  
Baby, I'm so glad you're mine, yeah  
You're mine.

Baby, baby  
The stars are shining for you  
And just like me I'm sure that they adore you.

Baby, baby  
Go walking through the forest  
The birds above a' singing you a chorus.

Stop for a minute  
Baby, they're so glad you're mine, oh yeah  
And ever since the day you put my heart in motion  
Baby I realize that there's just no getting over you.

Baby, baby  
In any kind of weather  
I'm here for you always and forever.

Baby, baby  
No muscle man could sever  
My love for you is true and it will never

Stop for a minute  
Baby, they're so glad you're mine  
And ever since the day you put my heart in motion  
Baby I realize that there's just no getting over you.

And ever since the day you put my heart in motion  
Baby I realize that there's just no getting over you.  
Over you.

Baby, baby  
Always and forever  
Baby I'm so glad that  
Here for you baby  
So glad you're mine  
Baby I'm so glad that  
When I think about you it makes me smile  
Baby, baby be mine  
Baby I'm so glad that  
Don't stop giving love  
Don't stop, no  
Baby I'm so glad that you're mine  
Baby I'm so glad  
Baby I'm so glad that  
When I think about you it makes me smile.

(Baby, baby: Amy Grant)  
   
MULDER: How's everybody doing?   
SCULLY: We're doing just fine. 

***Just Fine and Dandy  
Lord it's like a hard Candy Christmas,  
We're getting through tomorrow  
And nobody ever gonna bring us down."

(From Best Little Whorehouse in Texas - Hard Candy Christmas)

(Smiling, SCULLY rises from the bed and carries the baby to MULDER He  
gently pushes the blanket away from the baby's face.)   
MULDER: Hey, now.   
(The BABY begins fussing softly.)   
MULDER: (with tender authority) None of that. 

***Yeah, I'm down and out, but don't count me out   
Listen here babe, gonna show you what it's all about   
It's time for love, and you're welcome to it   
It's a dirty job, but somebody's gotta do it   
So here I am, do you want me now, just show me where, and I'll show you  
how   
I wanna know 

Chorus:   
No, no, no - don't say you won't if you will   
No, no, no, no - don't say you've had your thrill   
No, no, no - don't say you can't 'cause you can   
No, no, no, no - baby don't say no, no, no 

(No, No. No from the Doors)

(SCULLY smiles, looks up at MULDER and then gently transfers the baby to  
MULDER's arms. MULDER is nervous but awed and delighted. The baby calms  
in his arms. MULDER is beaming. He glances from the baby to SCULLY.)   
MULDER: (breathlessly) Hi.   
(He hums softly.

***Hello, I love you  
Won't you tell me your name?  
Hello, I love you  
Let me jump in your game  
Hello, I love you  
Won't you tell me your name?  
Hello, I love you  
Let me jump in your game  
   
(The Doors - Hello I love You)

 He looks up at SCULLY again.)   
MULDER: What are you going to call him?   
SCULLY: William. 

***(bomp, bomp, bomp, bomp-bomp-bomp)  
(bomp, bomp, bomp, bomp-bomp-bomp)  
(bomp, bomp-bomp-bomp)

For when I walk (bomp, bomp-bomp-bomp-bomp)  
I always walk with Billy  
'cause Billy knows just where to walk (bomp, bomp-bomp-bomp-bomp)

And when I talk (bomp, bomp-bomp-bomp-bomp)  
I always talk with Billy  
'cause Billy knows just how to talk (bomp, bomp-bomp-bomp-bomp)

And when I dine (bomp, bomp-bomp-bomp-bomp)  
I always dine with Billy  
He takes me where I get my fill (bomp, bomp-bomp-bomp-bomp)

Want you to know, I love him so  
I just wanna be with Bill  
(bomp, bomp, bomp, bomp-bomp-bomp)  
(bomp, bomp, bomp, bomp-bomp-bomp)  
(bomp, bomp-bomp-bomp)

<mixture> mostly instrumental with two "doot-doodle-oot-doodle-oot" 's  
thrown in

And when I dine (bomp, bomp-bomp-bomp-bomp)  
I always dine with Billy  
He takes me where I get my fill (bomp, bomp-bomp-bomp-bomp)

And when I sleep, and when I sleep  
I always dream of Bill  
(bomp, bomp, bomp, bomp-bomp-bomp)  
(bomp, bomp, bomp, bomp-bomp-bomp)  
(bomp, bomp-bomp-bomp)

(Billy: Kathy Linden)

(He looks at her.)   
SCULLY: After your father.   
(They gaze at each other for a long moment. She smiles warmly. He looks  
back down at the baby.)   
MULDER: Well, I don't know. He's... he's got your coloring and your  
eyes. But he looks suspiciously like Assistant Director Skinner.   
(MULDER and SCULLY laugh, then SCULLY frowns in confusion.)   
SCULLY: I don't understand, Mulder-- they came to take him from us-- why  
they didn't.   
(SCULLY's theme begins playing.)   
MULDER: I don't quite understand that either. Except that maybe he isn't  
what they thought he was. That doesn't make him any less of a miracle  
though, does it? 

***It's a Miracle ,   
A true Blue Technicolor Miracle Come True  
And the Miracle is YOU.

(Barry Manalow)

SCULLY: From the moment I became pregnant, I feared the truth... about  
how... and why. And I know that you feared it, too.   
MULDER: I think what we feared were the possibilities. The truth we both  
know.   
SCULLY: Which is what?   
(Still holding the BABY between them, MULDER leans down and kisses  
SCULLY on the lips. And keeps kissing   
her. SCULLY reaches out to hold MULDER's arms and returns the lover's  
kiss. )

We're in this together now  
None of them can stop us now  
We will make it through somehow  
You and me  
If the world should break in two  
Until the very end of me  
Until the very end of you

(Nine Inch nails)

OR IF YOU PREFER

The Hallelujah Chorus breaks out sung by the Mormon Tabernacle Choir

  
But while the credits run, CC sings

***I started a joke, which started the whole world crying,   
but I didn't see that the joke was on me, oh no. 

I started to cry, which started the whole world laughing,   
oh, if I'd only seen that the joke was on me. 

I looked at the skies, running my hands over my eyes,   
and I fell out of bed, hurting my head from things that I'd said. 

Til I finally died, which started the whole world living,   
oh, if I'd only seen that the joke was on me. 

(I Started a Joke by the Bee Gees)

* * *

If you enjoyed this story, please send feedback to Bertina, Laura aka Mrs. Fish, amw, Julie M, Ganymede, Peach, Josan, arranged by Eavesdropper 


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